Interested in pursuing a career in VO? Curious what goes on behind the scenes in a business where people talk funny for money? This book offers a fun and comprehensive look at what it takes, what goes on and what it’s like behind the mic from two working pros who started from scratch.

Filtering by Category: Tips

Next in our series of voiceover greats, we suggest you check out the wonderfully talented Rob Paulsen, who says he is "Getting paid to do what got me in trouble in the 7th grade."

Rob is best known as the voice of Yakko Warner and Dr. Otto Scratchansniff from Animaniacs, Raphael from Teenage Mutant Ninja Turtles, and Pinky from Pinky and the Brain. In his long and lustrous career, Rob has played more than 250 different animated characters and thousands of commercials.

From Rob's website:

"Born in Detroit, Rob Paulsen spent his childhood in Livonia and Rochester, attending Junior and Senior high school in Grand Blanc, Michigan. Rob loved cartoons like most kids but aspired to be a professional hockey player. “Fortunately, thanks to some big, strong, kid from Winnipeg who drilled me so hard my ears are still ringing, I learned around age 18 I had neither the talent nor the temperament to make a living playing hockey. So, I turned to my other passions: singing and acting.”

The goal of bringing absolute believability to a fictional character, live-action or animated, is what every actor strives for. Those who are committed to their career and who combine experience, passion and skill are likely to succeed.

Those gifted with exceptional talent who focus on maximizing their potential by finding their own niche, quickly break away from the pack...."

Here's a great tip and exercise for voiceover artists: use TV commercials as a source of practice. Really listen to the commercials on your TV or radio. When you find a good commercial you like, try to parrot the VO actor who is speaking the lines. You'll be repeating the words, of course, but also try to copy, as exactly as you can, the nuances, the tone, the inflections he or she uses, and the musicality.

Then mute or turn off the TV or radio and grab any random bit of text, such as an ad in a piece of mail or magazine. Try to bring the new tone and vocal patterns you've been copying to these new words. You will be using the style you've been mimicking with this new material.

This will really start to train your ear and attune you to what is currently “hot” in the advertising world. And it gets you practicing, reading aloud, and using your voice in new ways.

We all have our happy places when it comes to acting. Some of us revel in playing the hero or heroine, while others feel perfectly at home twirling our mustaches as the villain. Either way, it’s good to know where your comfort zone is and where you enjoy playing. It pays to know your strengths so you can take advantage of them and carve out a niche for yourself in the area you may be best suited to. But it’s also good to be aware of your strengths so that you can take time to work on the areas you aren’t as skilled in. In this way, you expand your repertoire and make yourself a more versatile, interesting, and employable actor.

It’s certainly not our intent to detract from the idea of doing one specific thing very well. That’s extremely important. It’s just that, if that one thing goes out of style, you want to have something to fall back on. And just because you’re good at one thing doesn’t mean you can’t learn to do other things equally well. For example, our good friend, the otherworldly talented actor Dee Bradley Baker, is known far and wide for his creature voices, monster babble, and alien squawking, and that’s what people tend to hire him for. But when called upon to do so, he also turns in a very moving, believable, human performance.

The best actors push their personal boundaries and continue to grow throughout the life of their entire careers; filling them up with memorable, interesting, and bold characters. If you feel you’re having a hard time pushing your boundaries on your own, get into a class where it will be someone else’s job to give you a friendly shove in the right direction. Classes can hold you accountable for your work in a way you often can’t do on your own.

Use your auditions as a place where you always push your boundaries and expand your comfort zone a little. Open yourself up to all possibilities. Widen the circle you play in.

There are several things that we think you should know before you start auditioning. One of these things is the importance of creating a strong character. We’ve noticed that the people who really succeed in this business are generally good actors first, good voice-over actors second. Strangely enough, when juggling all the balls of voice-over, one of the easiest to drop is the acting. Acting is where the most fun is, so who wants to drop that ball?

Creating a character is so much more than saying the words in the right order, or in a unique and interesting way. Creating a character is really about using your imagination to create the universe the character lives in, and then saying “yes, and,” to that universe. This yes, and, theory pops up a lot in improvisational comedy (improv) and theatre classes, so you may have heard it bandied about before now.

Put simply, one of the fundamental keys to good improv (and good acting in general) is agreeing to the scenario (yes) and then adding something (and) to take it to the next level. The more you say “no, but,” the harder it is to get to where you’re going, and the less interesting it’ll be for everyone involved. You’ll find that by your being specific about the world your character lives in, the type of character that would reside in that world quickly becomes clear to you. The character’s personality you end up creating this way will be real and honest, no matter how outlandish and wild the character’s reality might be.

Who’s to say that a talking sponge can’t have friends under the sea and wear geometrically formed pants? We bet a lot of people said “no, but” to this idea once upon a time, but the success of that show goes on and on, because the right people said, “yes, and … ”

Bringing a character to life through your own creativity, truth, and ability is what being an actor is all about. You get to live different lives and have experiences totally foreign to your own. Showing how much you love this part (by doing it) will become invaluable not only once you’ve got the job, but it’s going to help you get cast. Being able to create an interesting character at an audition shows that you’ll be able to create an interesting character if hired.

There is a given with aging. Every year that you are alive, you are a year older. That’s all.

Most of the specifics about how we age are in large part, up to us. Yes, we can get a disease. Yes, gravity wins out on our skin and things might sag a bit. But for the most part, how we age is up to what habits we practice, and our mind-set.

When it comes to the voice, there are some specific givens about aging.

The cartilages that are a part of our singing and speaking mechanism begin to ossify – to turn to bone. However, this may not be a bad thing. This may actually allow stronger closure of the vocal folds and less variability in the voice system since bone is more rigid than cartilage.... Continue reading, for great tips to protect your voice as you age

This exercise is to help you begin to compile your own practice copy for you to work on and then eventually use to create your commercial or animation demo reel.

For commercial copy, find magazines, see which ads visually pop out at you and write down the advertisement (or if the magazine is yours, pull the page out). Remember that print copy reads differently from commercial audio copy, so use the print as a starting point and then make slight adjustments to help the line flow.

To build animation copy, find an inanimate object in your house, then begin to write a monologue or conversation this object/character might have with you about its needs or hopes or dreams. Another wonderful way to create animation copy is to write down your favorite characters from animated shows, then rename them and make changes to what you know of their experiences, then try building a history or story for them that you find interesting.

Note which type of ad goes with the different types of commercial types (hard sell, soft sell, partner read, tag, etc.) also review your animation copy to see what types of characters you’re showing off and make sure you have some variety that works with your voice.

Put all your found (and massaged) copy into a binder, and practice randomly flipping to different pieces and reading and performing them as you would if you were in the booth.

Wonderful. You’ve had the chance to hone your unique vocal qualities and become more familiar with your natural voice. You’ve also probably gotten to see how your body reacts to a warm-up and how that can better prepare your voice for a session. You’ve read copy and made choices and have begun the process of building your own personal stack of practice copy that you can use as you move toward making your demo reel.

Voice-over isn't like it used to be where only 'certain' voices worked, now there are voices of all kinds and varieties to make up the spice of life. Basically, if you are a solid actor, are professional and considerate and you have good mic technique there is no reason you can't work in VO, of course, someone would have to hire you, so you'd need your demo reel ($$$$, time, energy) and most likely you will need to secure an agent to represent you and get you auditions (time/energy) as well as giving yourself as much as an edge as possible by taking classes, practicing your craft, knowing your voice and how to take care of it; so planning a career in voice-over is an investment.

The wonderful world of voice-over allows you to create amazing characters, to teach, to entertain, to offer new alternatives and to go on a whole new adventure. Remember, voice acting just “acting” without the bonus of using your facial expressions or body language to convey something visually, so your intention has to come across with just your voice helped by your imagination. And we all have one of those…

One great way of getting your ear (and then your voice) attuned to a variety of voices, inflections, accents and qualities is to practice people watching and people-listening.

Find a fairly busy spot, like a mall, a zoo, a crowded lobby, café, etc, sit yourself down, and observe. Listen to how different people talk, take note of their pauses, inflections, their unique affectations and things you find interesting about them. Without appearing creepy, you might even pay attention to their mouths to see if there’s something specific they’re doing to create sounds.

If you think it might help, bring a note pad along so you can take notes on things you want to remember. Consider also bringing your quality check list with you so you can quantify for yourself the characteristics of the voices you’re hearing. In case you haven’t built a quality list yet, here are some examples to start with. Use them as a jumping-off point and add your own!

Calm Pointed Sincere Flustered Agitated Loving

Hypnotic Polite Warm Shrill Distant Brash

See how many different qualities a particular person’s voice might have: perhaps they have a calm, sincere, loving, polite voice, or maybe their voice is pointed and agitated. Mix and match to best describe the voice you are listening to, or add any qualities you become aware of that aren’t yet on your list.

Here's a helpful voiceover exercise:

We call it the "chewing hum." It can warm up the different areas where your voice will resonate. Once again, when your voice resonates, it bounces around a certain area of your body, whether that’s up in your face, nose or head area, your throat, or your chest or belly.

Here's what you do:

1. Keep your mouth and lips closed and begin to hum. 2. Start chewing, as if you were eating something tasty, as you keep humming. 3. Now use your hands to feel the vibration in the front of your face, your nose, your cheeks, and gently allow your hands to move to your neck and throat, and perhaps even onto your belly so that you can feel how your voice resonates in different areas of your body.

Now to begin to identify where your voice is resonating, let’s concentrate on specific sounds that tend to resonate in different areas. Certain sounds we create generally vibrate more toward the head, while others, because we use different muscles to make them, may vibrate lower, toward the belly.

If you can learn to control where you choose to place your voice, you can begin to use it in more powerful and interesting ways.

We are regularly asked about how to use a mic correctly, so here are our guidelines, again. Keep working on it, and soon it will be comfortable and second nature.

Tips for Microphone Technique

The mic can be rather daunting when you first start out in voice-over! Practicing at home with one will help to reduce the newness of it, and the distraction from it.

Here are some tips to get you started.

PROXIMITY

Find your own comfort zone, with regard to proximity. Many voice-over artists will angle slight to the right or left of the mic, for two reasons:

1) This can reduce or eliminate pops from plosive sounds like t, b, or p. When you're in a session, engineers can help by putting a “pop shield,” a stocking device or foam shield, in front of the mic. But if you angle- speak slightly across the mic - you create a similar effect to a pop screen.

2) You will be able to see and read your copy off to the right or left, without the mic being right in front of it.

VOLUME

Well, the mic is there to amplify the sound, so you can be as soft or loud as the job requires, but you need to work with the mic to create this. If you are recording yourself, make sure you are getting a solid wave form, and if you are working with an engineer s/he will do this by first getting a good level of your planned volume before recording the take. You can’t speak softly while the engineer gets a good level, and then shout during your take!

Every different session will call for something different in the way of volume . For example, if you want low, deep sounds from your voice it can help to get very close to the to the mic, perhaps two to three inches. If you know you are going to really project, and speak louder, stand back, seven to nine inches from the mic, so your voice doesn’t distort.

Then trust the mic and your own voice and skill. If you need drama and a “dark” interpretation, you might try a whisper, or near-whisper. And if it is comedy, use a little more level and smile the whole time you are speaking. It is amazing that a smile can come right through the microphone to the listener!

LIGHTING

You must be able to see well, to read your copy! Make sure you are well prepared with contacts or reading glasses if you need them, and some artists even carry a small clip-on light, which runs on a battery, to attach to the stand holding your copy. Lighting must be ample to reduce the possibility of unnecessary errors when you read. In many studios you can ask to increase the level of light if it isn't bright enough for you.

TECHNIQUE AND SKILL

Do your breathing exercises. Practice reading all kinds of different material at home in front of the mic. Try things and experiment at home to learn what your real strengths are. And stretch yourself to try new things. Try different pitches, different volumes, mimic cartoon characters or famous actors or comics. Read out loud in front of the mic and record it if you can, to listen back - you will learn so much from hearing your own work.

The more you develop and then employ your microphone technique and skill, the less the engineer and producer have to rely on enhancements in the studio. The less they work, the faster and easier the session, and the more likely you are to be re-hired! Plus, comfort and skill with the microphone shows your professionalism, getting the job done well and quickly, which is the producer’s goal!

Yes, it’s the dreaded bane of voice artists everywhere: the common cold. Common, they may be, but for voice actors it can be devastating. Our voice is our livelihood!The secret, if you can do it, is to avoid the cold completely. Or stop it in its tracks right at onset. Or limit its virulence and length. How? Paying attention to daily habits can save you a horrible cold, and if you contract one anyway, try these tips and ideas:

1). Drink lots of water. All the time. Every day. Without fail. Got it? In the winter the air inside and out is dryer than usual, so your vocal cords can be stressed with the relatively low humidity. Add to this the fact that we all tend to drink lots of coffee and tea to warm up, which dehydrates you further! So drink eight glasses of water a day.

3) First sign of a cold, breathe steam ASAP. Lean over a pot of just-boiled water, with a towel draped over your head, and breathe in the steam through your nose and mouth. This will open up the sinus passages and the moist heat will restore the natural healthy environment of your nose, mouth and throat. A “neti” pot is great to take with you and keep rinsing out your sinuses this way, even in the restroom of the studio or audition hall.

4) Then run for the nutrients and herbs:

OSCILLOCOCCINUM: If you think it might be the flu (body aches as well) take a dose of homeopathic Oscillococcinum (from the health food store) every hour for three doses. Just the first day. Homeopath friends of ours tell us to do this even if you’re not sure it is the flu, as there is no harm done by taking it.

VITAMIN C: Ester C or Calcium Ascorbate is best, as it is easier on the stomach. Some nutritionist suggest as much as 2 grams at a time, and we know people who take 15 grams in a day to fend off a cold. We aren’t nutritionists, so we simply suggest you consult your own practitioner, or read Dr. Weil*, Dr. OZ*, or Dr. Mercola* for recommendations.

VITAMIN D: There is lots of research which confirms Vitamin D as an immunity booster, and the fact is we get less of this vitamin in the winter, due to the reduced amount of sunshine. Again, consult your practitioner or Dr. Mercola* for amounts.

BETA CAROTENE: (which is the vegetable form of Vitamin A): Eat lots of carrots! Seriously, beta carotene is part of the cocktail that helps you fend off a cold.

ZINC LOZENGES: Slowly suck a Zinc lozenge at the first sign of a sore throat or cold. Research suggests zinc inhibits the cold virus.*

OTHER GOOD IDEAS:

Eat lots of garlic and onions; i.e. onion soup with a clove of garlic in it. Onion soup is marvelous for expectoration; it clears mucus from the system.

Avoid sugar and alcohol as they feed the virus and weaken the immune system.

Slippery elm bark is soothing for sore throat, as a tea or in lozenges.

For a cough, try elderberry syrup and peppermint. Some cough syrups at the health food store are made with elderberry, and peppermint is wonderful as a tea.

Also, be sure to cough softly or not at all. Coughing and clearing your throat can strain the vocal cords, which of course can extend the time you voice is not available to you!

So, what’s the all-around best advice for maintaining your voice during this cold and flu season? Avoid getting them in the first place, and this is best done by always keeping a personal water bottle with you (don’t share it!), and sanitize your hands as often as possible.

They say that luck plays a huge part in getting anywhere in this business. Ya just gotta be at the right place at the right time! We agree, but we also have a slightly different definition of luck. Our friend Merriam – you may know her: Merriam-Webster – defines luck as:

1 a: a force that brings good fortune or adversity b: the events or circumstances that operate for or against an individual

To take this a step further, instead of luck, we prefer to substitute the word success in Seneca’s definition. We end up with the equation: success = preparation + opportunity. This is much better than relying on luck because you can take action to prepare yourself, and you can take action to create opportunities.

We do our best to be prepared and to create our own opportunities, and that’s when we’ve found success happens most often for us. So what they say is true: luck plays a bit part. But you can get yourself to the right place, and if it’s the right time and you’re prepared, then boom!

But imagine what happens if you manage to get to the right place at the right time and you’re not ready for it: the, uh… opposite of boom.

A respected vocal scientist, Dr. Titze demonstrates vocal exercises that consist of creating sounds into a straw. After a few minutes of these exercises, your voice will feel like it is coming out of your eyes (a buzzy feeling in your face) which he explains is the optimal placement for your voice.

He sings the National Anthem into a straw, which, he explains, helps to strengthen and train the vocal folds for the best transfer of power from the glottis to the lips. He demonstrates the "semi-occluded" phonation which balances the air pressure around the vocal folds: sub-glottal (below) and super-glottal (above). Examples of these semi-occluded phonations are the raspberries and lip buzzing sounds you recognize from our tips and your vocal coach.

"OVER THE PAST TEN YEARS John Nix and I have been describing vocal exercises that utilize phonation into a straw.1 These exercises are part of a bigger picture of training vocal fold adduction, registration, and epilarynx tube narrowing for the best acoustic power transfer from the glottis to the lips. Use of a thin straw is not the only way to facilitate this power transfer, but a semi-occlusion at the mouth is a requirement. Lip trills, nasals, / u / and / o / vowels, bilabial fricatives, and other semi-occlusions can all be used to meet the objective. 2"READ MORE

Many thanks to Dave “Courvo” Courvoisier for this guest blog!

From Dave’s upcoming book, “You Need More Than a Good Voice to Do Voice Overs,” available soon!

Just as important as knowing WHAT to do in the VO business, is knowing what NOT to do! Being aware of the biggest classic mistakes ahead of time can really help you avoid them.

Some of these admonitions may seem obvious and common-sensical, others are basic concepts you can adapt to your style and business plan.

Do yourself a favor, print this out and post it in a place where you’ll see it often.

By-no-means-complete, but essential list of VO mistakes:

1) Being undecided about your rate. Do your research; many of us charge too little for our services. Or we are apologetic, defensive, blustering… Read the chapters on rates, a little further on in this book. There I lay out my opinions and experience in this area, and give lots of links to other experts’ suggestions as well! Come prepared to a conversation about rates with the client!

2) Believing all you need is an agent and you are in the black! Of course, a good agent is invaluable in obtaining auditions for you that you’d not get yourself, but they will never be your only source of sessions. Look for contacts, keep networking, marketing online and in person, and DO that cold-calling you’ve been putting off. Don’t rely solely on your agent.

3) Making your voice over demo when you are not yet ready. You need practice, you need coaching, you need to know your voice and what it can do. In short, you need to be really prepared. If you pay for that demo too soon, it can be wasted money. And no demo is forever. Be ready to go through the process as often as the market demands.

4) Not getting help with that first demo when you ARE ready! This is really a place for leaving it to the pros. You may think “How hard can it be?” to plop down your voice with your own new equipment. This is a common mistake, but believe me, studios bring experience, skill, and know-how to the process. You can’t be objective enough about your own demo, and you only get one shot at a first listen. Make it the best it can be!

5) Failing to get that agreement in writing. It is always vital to get something in writing. Memories of discussions and “agreements” can so easily change over time, with the potential to lead to uncomfortable and unnecessary conflicts. Plenty of voice actors don’t do this, but most clients don’t blink when you request it.

6) Forgetting to practice – ALOUD – every day! It is absolutely vital to read aloud every day; you can get rusty in a just a few days without this exercise. Do your voice exercises, repeat your tongue twisters, exercise your face, and oh, yes, READ ALOUD EVERY DAY!!

7) Not using TV and radio as an instant, powerful mechanism for practice, and for knowing what is current and popular, and in demand. You must know what is playing on the air at any given time! So listen and learn from today’s commercials, listen to narration on documentaries and reality shows. Stay current.

8) Forgetting the customer’s directives! Within the expertise that you bring to any project, the client’s wishes still need to remain at the top of the to-do list. This is a service industry. Do it their way, and if you think you can do better… make that your 2nd or 3rd take.

9) Being difficult to work with. This is an extension of number 8, above. Be considerate and easy to work with. Listen to the requests of the customer and the engineer, don’t be pushy. Follow up in a timely manner. Be in time, and on time. Never be arrogant. Don’t share info about the job with anyone else unless the client says it’s OK. They may welcome the extra PR, but they may not want anyone to know.

10) Expecting instant success. Don’t lose patience with this process. Be persistent, and be prepared to reach out time and again. Stay on the radar of prospects. Take more classes, buy more coaching, network endlessly... This is a business for tortoises, not hares.

THIS GUEST BLOG IS BY: Dave “Courvo” Courvoisier

Dave is a multiple Emmy-Award-winning TV News Anchor with more than 30 years experience in the biz. He currently anchors 3 newscasts daily at the CBS affiliate in Las Vegas, NV, KLAS-TV (http://www.8newsnow.com)

But Dave always thought he had at least one more good thing in him, and that thing is Voice Acting.

Now with eight years of voicing experience under his belt, Dave has clients that range from Audiobook publishers to E-Learning to Documentaries and Commercial spots. He’s studied with some of the best coaches in the business, and enjoys promoting the community of Voice Actors as a member of the executive board of World-Voices Organization.

Along the way, Dave embraced Social Media as his marketing plan, and THAT lead to even more demand for his services to explain how to use social networks in raising one’s profile on the internet. He has spoken at many business conferences and conducted a number of webinars on the subject of social media marketing.

Self-promotion can be hard for some people. It takes work. And how many times did your grandma say, “People don’t want to hear you talk about yourself!” We’re taught that tooting our own horn is prideful and unattractive. But in this business, you have to find as many ways as possible to let people know how great you are and why they should be hiring you. And as we said before, promoting you is not part of your agent’s job. What if you don’t even have an agent? What can you do on your own? Well, a lot, actually.

We’ll talk about some of the things you can do to promote yourself, but there are plenty more ideas beyond what we’ll go into. The more creative you get, the more effective your promotion will be. So put your fun-hat on and get cranking on some ideas.

Once you’ve determined what your sound is and decided where you think you might fit best in the VO market, you’re done with the hard part. Use this info to promote yourself and move in the direction you want.

Tip: Don’t worry if you don’t have an agent yet: you’ll always be your own best promoter. So start selling yourself now.

What to Do with Your Voice Over Demo

So what do you do with your masterpiece? The demo you spent all that love, time, energy, and dough on? You get it out there and get it working for you. It’s time to try to get a return on your investment.

Do a mailing to your target agents or managers, and don’t stop there. Do a little research, and target production studios, ad agencies, producers, casting agents, and directors who work on the kind of projects that you’d like to be working on. Once again, feel free to check out the Resources section of this book to get more direction about where you can start your search.

Post your reel on line; it’s easy these days. Make it accessible on Facebook, MySpace, LinkedIn, Twitter, and any other online social networking site, so that if someone wants to hear it, they can find it easily. Build your own Web site and host your demo there. The more online places your demo is featured and associated with your name, the easier it is for somebody to find it by using a search engine like Google.

Use whatever method you can think of to get your demo into the hands of the people who could hire you (or at least into the hands of someone who can introduce you to some of those people). There is no right or wrong way to do this, but there is a fine line between catchy and gimmicky – much like the line between aggressively pursuing and stalking. So do be respectful about putting yourself in people’s faces.

We’ve found that the difference between catchy and gimmicky can be crystallized in this comparison: a personalized card with a funny note included with your demo is fine; a glitter-filled envelope that explodes all over an agent’s desk when he or she opens it will get you remembered, but for all the wrong reasons …

A short note on packaging: except for those times when you simply e-mail your demo as an MP3, you’ll need some sort of packaging for it. You’ll want it to look nice and professional. Feel free to use your creativity in putting your package together, but one word of warning: while it may seem to be a good idea to put a picture of you somewhere on that CD case, listen when we say that there are better options. Putting your face on your demo automatically typecasts you in the eyes of the person looking at it. As a voice actor you want a potential employer to think that you can be anything and anyone.

If agents have a specific image of you in their heads, it’ll be harder for them to consider you as anything other than what you look like. We’ve been telling you how important it is to use your imagination, right? Well, let the agents use their imaginations this time.

We found a terrific article from PBS that we'd love to share, "How to Succeed as a Voiceover Artist in the Digital Age."

It offers good suggestions for getting started, ideas on home and portable studios, attending voiceover conferences, continued training, and more. Here is a short excerpt, and click on the link to read the rest!

"...voiceover, like with other entertainment industries, has moved into digital. While voiceover work has existed for decades, new technologies have enabled voiceover actors to record with more quality and to do so virtually anywhere they happen to be.

When it comes right down to it, we do this – voice acting – because it’s fun, because we get to play. But sometimes we can forget that. Remember to have fun, be personable, and enjoy what you do.

Fact #1: people like working with people who are having a good time doing what they do. We mentioned being flexible when we talked about being prepared. Showing that you are willing to play and experiment lets everybody know that you will be a positive force on the creative team. And that you play well with others.

Fact #2: people like working with those who don’t take themselves too seriously (see earlier note about not being a jerk). There is, of course, a line which should not be crossed; nobody likes working with someone who is always goofing off or being a little too creative with the script. But you’ll get the feel for it; don’t worry.

The focus of this book is the actor. However, don’t let this mislead you. The actor is only one piece of the puzzle. Acting is a profession in which teamwork or group effort is definitely key. In order for an actor to perform even the most basic of jobs, a number of different people must be involved as well: writers, producers, directors, engineers, editors, technicians, designers, and developers, to name just a few (and that’s not even counting the audience). So, always remember that you are a part of a fantastic and exciting team.

At the end of the day, when people have to make casting choices, there are a lot of things that come into play. Partly it is a matter of them thinking, Can this person get the job done, partly, How much time/cost will we incur by having this person do the job, and maybe most importantly, What will it be like having to spend a lot of time working with this person? Be a person everyone will want to spend their time with.

For those voice actors who need to record auditions away from home, or save demos while traveling, there is new audio editing capability! WavePad can now edit on your Android mobile device (Check out new Android version of WavePad Audio Editor.) by clicking on the red link below You can edit on your iPhone or iPad as well as on your Mac or Windows computer. Now, when you are out in the world and need to record an audition for a potential client, you can do it while on the move. Very cool!

This new WavePad sound editor is pretty easy to use, and you can add effects such as echo, normalize, filters, etc. And you can reduce the background noise (of the coffee shop you may be sitting in!) with this new tool.

Acting can be such a haphazard, chaotic, arbitrary endeavor, it’s nice to know that there are life rafts out there for us; and one of your most important life rafts is the script. Whether your character has only one line, or all the lines; whether the page is mostly descriptions and direction, or only your lines with no context whatsoever; this is your gold mine. Now dig. Look for those W’s. Does the script tell you where you are? Who you’re with? What’s going on? Do the other characters talk about you? How do they talk about you? Paying attention to these things and answering the W’s will make your work (play) easier.

For example, if a character refers to you as a scaredy-cat, perhaps your character is quite timid or spooks easily. That’s something for you to go on. If another actor auditioning for the same part has read only his or her lines, then you’re ahead of the game when it comes to knowing your character. You can make a choice that uses the information you uncovered.

If you’re dealing with commercial copy or narration, perhaps the script contains description or backstory that will give you context; and knowing the context can’t help but bring out a more solid and nuanced performance. If the scene takes place at night in a bedroom with someone sleeping beside you, maybe you’re whispering so as not to wake that person. All of these things can seem obvious when pointed out, but the trick is training yourself to find this sort of information in the script when you get it. We sometimes get nervous when we’re preparing for an audition, and concentrate too hard on what we’re supposed to say. And while that’s certainly important, just as important is what’s been said about, to, or around us.

Never overlook something in the script because you don’t think it’s important. Writers spend countless hours writing, reviewing, and re-reviewing a script to make it perfect. Rarely is something in there for fluff, or just because. Use everything the writer gives you to bring life to your character. Why did the writer choose these words specifically for this character? Try to understand the reasons behind the writer’s choices. Become a psychologist and a detective all wrapped into one (a psytective … detectologist? Our list of jobs that acting encompasses seems to be growing …). Scour the page for evidence of compelling relationships and human emotion so that you can bring these characters to justice! Or rather, so you can do justice to these characters.

All the actors we know have their own tricks and tips for keeping their voices healthy – because if you lose your voice, there’s no real way around it.

Some of our favorite tools for soothing a sore throat or tired voice, or getting your voice prepped for an upcoming session, include all natural black licorice, non-caffeinated hot tea, honey (especially Manuka honey, an anti-bacterial, medicinal honey from New Zealand which you’ll have to go to a health store to find), primrose or fish oil capsules, lots of water, fresh pineapple or pineapple juice.

Also, we eat a lot of ginger and garlic which are said to have natural antibiotic properties; and while that might not directly affect our voices, it seems to keep us healthy. Staying healthy is important because we’ve found that when we get sick, our voices are the first things to go. We’ve also found that zinc helps nip a cold in the bud, or at least loosen its grip on us. You may want to keep these things around so you’ll have them when you need them.

You may find other things that are good for you. Great, add them to the list. Pay attention to what makes your voice feel good and what makes it feel bad.

Many people will tell you that before recording you should avoid milk products at all costs because it makes your voice thick and phlegmy, and in most instances they’re right. But sometimes we actually like to have a little dairy if our voices are particularly scratchy or raw because it tends to coat our vocal cords a bit. Obviously (because we’ve said it so many times), drink as much water as you can without starting to feel sloshy. Not just before a session, but as often as possible. Staying hydrated will help a lot more than just your vocal health.

Black licorice (natural, not candy) is said to have anti-inflammatory properties which can soothe and slightly numb the vocal area, so it can be nice after a grueling session. But many people don’t like the sharp taste. Yuri used to hate it, but after realizing how positively it affects his voice when it’s scratchy, he’s come not only to tolerate it, but maybe even like it. Maybe. Just a little.

Many types of cough drops can also be soothing. And while lemon and menthol (not necessarily together) are appreciated by some as a remedy, see how they affect you because some people actually find that the harsh properties of both lemon and menthol can aggravate a throat irritation.

Hot, non-caffeinated tea is nice for multiple reasons: it is warm, which keeps your voice loose and relaxed; and it keeps your throat moist. Honey, which can be mixed into tea or taken separately by the spoonful, has soothing and anti-bacterial properties.

Primrose or fish oil capsules, when ingested, are said to help strengthen your vocal cords and keep them lubricated. However, be sure to check the dosage: eating too many at a time could have … runny results. As with many types of natural cures, there is no scientific evidence proving that these oils will do something for the voice specifically, but the folks we know who use them seem pretty happy with their results.

Using fresh pineapple and pineapple juice as a natural antitheir -inflammatory is a tip that was given to us by a friend who has starred in many a Broadway musical. Singers often drink it or munch on it before, during, or after a show to keep the swelling in their vocal cords down when voices are tired from overuse. Hey, good enough for Broadway is good enough for us; and besides, pineapple tastes good.

Some folks will tell you that besides green apples for combating smackiness, green apple-flavored hard candies or even a sip of soda will help. We prefer the apple since it’s easier on the teeth and healthier in general. But once again, check with your body before you make your final selection: it usually knows best. Since you really just need the juice of the green apple, it’s too bad they don’t sell green apple juice. We’d buy it.

Things that we’re pretty confident you should avoid to keep your voice as healthy as it can be are smoke and caffeine. Hey, like we said before, we’re not your mom, your teacher, or the boss of you; but smoking and being around smoke seems like an obvious no-no, as smoke dries out your vocal cords and can change your voice, over time. Not to mention the effects of smoking on your lungs, mouth, etc. (we’re sure you know this already). Once again, it is very much a personal choice. We know both highly successful voice actors who are regular smokers and highly successful voice actors who never smoke.

Caffeine has a very similar side-effect to smoke: drying out your voice and often creating more strain on it when you use it. So think twice before swigging that morning cuppa joe on the way to your VO session, tasty though it may be. Or at least consider decaf.

This is something that can’t be said enough: you must know your own voice. No matter how long you’ve been living with your voice and how well you think you know it, you’re about to start doing things with it that you’ve probably never done before. So take the time to get friendly with your beautiful and unique pipes. You’ll learn to recognize your limits and your strengths.

Believe it or not, if you don’t know your voice, sometimes booking the job is the worst thing you could do! For example, let’s say you really push your voice way out of your comfort zone in the audition, and you book the job. Well, that’s great, you got the job! But now you have to do that voice (maybe for 52 episodes!), and if you’ve made a choice that your vocal apparatus can’t keep up with (say, a deep gravelly voice that you can only maintain for a few minutes before you get hoarse or keel over in pain), then you’ll end up embarrassed because you’ll have to back out of the project, and the producers will have to find someone else.

In that case, everyone loses, and no matter how many times you apologize, everyone will remember what a snafu you caused. We’re gonna bet most voice actors have a story like this; and you only need one such experience – where you risk losing your voice (and your pride) – to drive home the importance of knowing your own limits.

This isn’t to say you shouldn’t push yourself or that it isn’t possible to expand your range. That’s the fun part! But the key here is staying healthy. Start by becoming conscious of when you are speaking on your voice or off your voice. Just as our fingerprints are unique to each of us, our vocal folds vibrate to create specific vocal patterns which make up our personal and unique vocal signature. Practice creating interesting and specific characters with the voice you have, and not the voice you wish you had.

Sure, it’s possible to imitate someone who has a similar sound or register, but ultimately we are each built differently, and our vocal quality is one more example of this. (You really are unique, just like your mom told you.)

You can expand your healthy voice range just as you would build muscles at the gym – by working out. Taking a singing class or voice class can often provide you with the exercises you need to broaden your range.